Michael Fremer

Michael Fremer  |  Mar 18, 2007  |  1 comments
Back in 2000, when Lyra introduced the Helikon moving-coil cartridge, which replaced the then six-year-old Clavis D.C., the company inexplicably retained the Clavis D.C.'s retail price of $2000. This was inexplicable because the Helikon's revolutionary design was new from the ground up, and because audiophiles—like most, if not all, consumers—perceive price to be a reflection of quality and performance.
Michael Fremer  |  Jan 05, 2007  |  0 comments
"Everybody's gotta get into the act!" Jimmy Durante used to say. That's what's happening with phono preamplifiers—they just keep being built, and I keep getting them for review. Up for evaluation in next month's column are new models from Perreaux, Musical Fidelity, Graham Slee, and a Chinese one, Ming Da. You can bet there'll be more.
Michael Fremer  |  Aug 27, 2006  |  1 comments
The Graham Engineering 1.5 tonearm, originally introduced in 1990, was a thoughtfully executed design that logically addressed all of the basics of good tonearm performance—geometry, resonance control, rigidity, dynamic stability—with effective, sometimes ingenious ideas, while providing exceptional ease and flexibility of setup. Over time, designer Bob Graham came up with ways to significantly improve the 1.5's performance, including the replacement of its brass side weights with heavier ones of tungsten, an improved bearing with a more massive cap, various changes in internal wiring, a far more rigid and better-grounded mounting platform, and a new, sophisticated ceramic armwand. (The original wand had hardly been an afterthought: its heat-bonded, constrained-layer-damped design consisted of an inner tube of stainless steel and an outer tube of aluminum.) The arm's name changed from the 1.5 to the 1.5t (tungsten), then the 1.5t/c (ceramic), and on to the 2.0, 2.1, and 2.2.
Michael Fremer  |  Aug 06, 2006  |  0 comments
"Hello, I'd like to apply for a Federal Grant? For what? Oh, to design and build a new, high-tech, very expensive turntable. What's that? It plays records. Yes, that kind of turntable. Of course they still make records. Why? How much time do you have? Oh, I forgot—you're a federal employee, you have all day! Well, I didn't mean to insult you. It was a joke....No, I'm serious about the turntable. You do? What kind of music? When are they from? RCA Record Club? Classical Music? 1950s and '60s? Yes. I'll give you $5 each. I know it's generous, but... How much money do I want for the grant? Coupla hundred thousand dollars. No, our turntables will never be used to play Marilyn Manson records—Marilyn doesn't do vinyl. It's in the mail? Thank you. I'll come get the LPs tonight."
Michael Fremer  |  Jul 30, 2006  |  0 comments
As it did for so many other designers and manufacturers of specialty audio gear, the current occupation of Basis owner/designer A.J. Conti began as a hobby and personal quest. A longtime audiophile and home-based dealer of brands like Krell and Quicksilver, Conti decided to build his own "killer" turntable using a fluid-damped suspension.
Michael Fremer  |  May 07, 2006  |  0 comments
What makes a phono cartridge worth $3500 or $4000? Pride of ownership? Snob appeal? Sound? Tracking ability? Exotic materials? Styling? Labor cost for skilled artisans? Special ether? Cool wooden box? All of the above?
Michael Fremer  |  Jan 14, 2006  |  0 comments
Part New Jersey diner, part Wurlitzer jukebox, with a snakelike tonearm that at certain angles looks vaguely lewd, this boxy, man-sized creation from Australia seems to have been built around its distinctive looks rather than for any functional purpose. Combine that with its sky-high price—itself almost obscene—and the result is apparently the sort of product that envious, cynical, self-loathing audiophiles love to hate, and reviewers love to write about.
Michael Fremer  |  Dec 24, 2005  |  0 comments
Like the $29,000 Boulder 2008 phono preamplifier, the new Whest PhonoStage.20 with its MsU.20 power supply costs as much as a car. Fortunately for you, that car happens to be my first new Saab, which cost exactly $2737 back in 1972. The solid-state Whest costs $2595, so it's a few hundred dollars cheaper. But at only a tenth the cost, it comes closer to the Boulder 2008's performance than it has any right to. That it's good enough to be mentioned in the same paragraph should tell you something about how good I think it is. Nor did it come to me hyped by the manufacturer—it took me by surprise from the minute I first heard it. I began my listening right away, before reading anything about the circuit design.
Michael Fremer  |  Nov 06, 2005  |  0 comments
If compact discs are so damned dynamic and vinyl is so dynamically limited, why do they sound just the opposite? Why do LPs sound so "live," so explosive, so "there," and CDs so dead? Even the best CDs usually sink to second-rate when you switch to their vinyl versions. I've heard it, you've heard it. Only those in deep denial, those who refuse to listen, don't. They'd rather read the published specs and consider the actual listening some kind of mass delusion among Luddite LP fans.

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